![]() This interview originally appeared in AC, Nov. I don’t know very much, but the amount of work that goes into working on digital to make it look like film after the event seems like a great waste of time. “Film is so much more beautiful than digital it gives so many more textures and variations. “As far as I’m concerned, nothing beats shooting on 35mm film,” the actor opines. We’re pleasantly surprised, however, when he does return to offer his thoughts about the importance of shooting on film. The notoriously private actor responds with a good-natured smile and goes back to shooting. We joke that Bond might get the cover if Craig provides an exclusive, tell-all interview. Filmed by a Technocrane-mounted Panavision Millennium XL2 camera, Craig performs several takes in this perilous position, and when at last the scene is done, he descends and introduces himself, adding, “You have to put our film on the cover of American Cinematographer !” ![]() Director Sam Mendes yells, “Cut!”Ĭlick on the image for our complete Bond article collection.ĪC is visiting director of photography Hoyte van Hoytema, ASC, FSF, NSC and his crew on the backlot of Pinewood Studios, on the set of Spectre, the latest film in the long-running James Bond franchise. The set comprises four walls of a blown-out building, and the action is a simple gag: 007 grabs at a light fixture on the wall to steady himself, the fixture comes off, and he falls on the ledge. A security cable stretches out the back of the actor’s elegant jacket and fastens to a point roughly 20' above, where a crewmember monitors the rig attentively. At top, James Bond (Daniel Craig) seeks to stop a terrorist bombing plot in Mexico City.ĭaniel Craig stands on a narrow ledge some 30' off the ground.
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